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Updated: June 29, 2025
It spoils the look of the window dreadfully, but gives me a view right away to Lido, and of the whole sunrise. "9 Dec. I hope to send home a sketch or two which will show I'm not quite losing my head yet.... I must show at Oxford some reason for my staying so long in Venice." Beside studies in the Chapel of St. George, he copied Carpaccio's "Dream of St.
In his little guide to the Accademia, published in 1877, he roundly calls Carpaccio's "Presentation of the Virgin" the "best picture" in the gallery.
One very interesting detail of Carpaccio's "Miracle" picture is the Rialto bridge of his time. It was of wood, on piles, and a portion in the centre could be drawn up either to let tall masts through or to stop the thoroughfare to pursuers. It is valuable, too, for its costumes and architecture. In a gondola is a dog, since one of those animals finds its way into most of his works.
The satisfaction with which he executed the wall paintings in S. Maria Maggiore is testified by his own portrait introduced upon a panel in the decoration of the Virgin's chamber. The scrupulously rendered details of books, chairs, window seats, &c., which he here has copied, remind one of Carpaccio's study of S. Benedict at Venice.
And presently the lady would make him sleep upon her knees and a young man would come with a pair of scissors and crouch under her mantle and cut off his locks and drop them into a shallow round box upon the floor, as in Carpaccio's picture in Milan, and she would wake him up, exclaiming
Look at the crowds, the band in full blast, the restless horses which like dragons no more than they like bears. The third, although the subject is less entertaining, shows no decrease of liveliness. Carpaccio's humour underlies every touch of colour.
As an impressive picture of the death of a good man it can hardly be called successful; but how could it be, coming immediately after the comic Jerome whom we have just seen? Carpaccio's mischief was a little too much for him look at the pince-nez of the monk on the right reading the service. Then we have S. Jerome many years younger, busy at his desk. His tiny dog gazes at him with fascination.
Giovanni Bellini is more or less everywhere in Venice, and, wherever he is, almost certain to be first first, I mean, in his own line: paints little else than the Madonna and the saints; he has not Carpaccio's care for human life at large, nor the Tintoret's nor the of the Veronese.
Carpaccio's St. Stephen preaching at Jerusalem, 1211, is part of the Historia of the Protomartyr, painted for St. Stephen's Guild at Venice. The naïve attempts at local colour Turkish women sitting on the ground in groups as they may still be seen in Turkey to-day, and quaint architectural details are noteworthy.
When we turn to Carpaccio's "Miracle" of 1494, representing the healing of a man possessed of a devil, who may be seen in the loggia at the left, we find a slightly richer sense of history, for three or four women look from the windows; but Mansueti, although a far inferior artist, is the only one to be really thorough and Venetian in this respect.
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